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Lot 90
A group of vintage studio art glass to include textured clear glass Timo Sarpaneva for Iittala Bolero pattern candlestick of mushroom form. Also a Sweden Jonnason glass still life weasel , glass dolphin on scroll wave base, Dartington daisy flower bowl by Frank Thrower , cased etched vase signed and dated DF F 2 7 96 . 131. Green glass etched Owl posy vase signed CR. etc. Please see images. Highest measures 17 cm.
Lot 493
Attributed to George William Sartorius (British, 1759-1828), Still life of peaches, plums, hazelnuts, apples and grapes oil on canvas 74 x 60cm (29 x 23in) Provenance: Lane Fine Art, 123 New Bond Street, London, SW1 Oil on canvas which has been lined. The paint layer is stable and secure. There are areas of retouching in the lower half of the painting emphasising shadows and outlines as well as covering age cracks, the retouching is quite loose and free but not obvious under normal viewing conditions. The varnish is clear, even and semi-matte. There is a loss to the left-hand sight edge of the frame. F91 - inventory number to the reverse.
Lot 494
Continental School, 20th Century Still life of peaches and black and white grapes in a basket oil on canvas, in a faux tortoiseshell 17th Century-style frame 59 x 48cm (23 x 19in) Oil on canvas. The canvas is unlined and the tension is slightly slack, there are a few minor deformations to the support. The paint layer is in a good condition. The varnish layer is even, clear and semi-matte.
Lot 495
Manner of Henri Fantin-Latour (French, 1836-1904) Still life of roses bears signature upper right oil on canvas, unlined 30 x 41cm (12 x 16in) Under glass and a little dirty. Oil on canvas which is unlined. The paint layer is stable but the background is slightly worn with numerous retouchings. The retouchings are well matched to the original. The painting is glazed and the glass is dirty inside and out. The frame is in a good condition.
Lot 438
JEAN BELL (1923-1992), Still Life with Flowers, Ceramics and Fruit, oil on canvas, unsigned, 21 1/2" x 18", together with another similar on paper, the reverse with a male Portrait Study, unsigned, 20 1/2" x 15", both unframed (2) (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)
Lot 29
William Scott, R.A. 1913-1989 PAINTING 1959 Oil on canvas, 83 1/2" x 53 1/2" (212 by 135cm), signed Provenance: Hanover Gallery, London; Galleria dell' Ariete, Milan, whence purchased by the previous owner, 1959; Sotheby’s London, 24th October 2005, lot 77 (catalogue note below); Private Collection, Dublin Exhibited: Milan, Galleria dell'Ariete, 20 Quadri, Premio dell'Ariete, Selezione Biennale di Pittura Internazionale, 1959, illustrated in the exhibition catalogue, p.45. The present work is recorded in the William Scott Archive as no.1597. Having returned from a brief essay into abstraction in the early 1950s Scott had, to a large extent, concentrated for much of the rest of the decade on the still-life subject of his early career. However, as the paintings developed in the last years of the decade, the objects themselves became less and less important, their forms becoming increasingly simplified and distorted, with their importance lying in their use as formal compositional elements. Freed from a need to keep the recognisable form of the object, Scott became ever more willing to use each one as vehicle for textural diversity, either heightening a colour contrast with the brushwork, or in some paintings using the paint handling itself to delineate forms within a like-coloured background. Similarly the setting of the image could be manipulated, with the suggested planes of a still life composition becoming an equally weighted element in the image. Thus, in the present work Scott has broken down the recognisable elements of a still life to such an extent that it appears at first sight to be entirely abstract. However, closer inspection begins to suggest the line of the edge of the table dividing the picture plane and the vestiges of the familiar forms of cup and pan floating across the surface. By removing their obvious connotations, the forms were released by the artist to act as simple signifiers and mark a path forward towards the full abstraction Scott would achieve in the early 1960’s. One distinguishing feature of Scott’s work at this time is the supremely confident and varied handling of the paint surface which is seen at its very best in the present painting. The range of textures that are drawn together are quite remarkable in their variance, from the richly stroked palette-knifed background to the deeply incised line which delineates the large circular forms which provide the central feature of the composition.
![BEN NICHOLSON OM [1894-1982] Still Life, 1962. Lithograph on Arches wove paper with full margins. Signed and numbered in ink](https://cdn.globalauctionplatform.com/abed1dc5-83aa-4457-ab6f-a8da0098d4e4/03d65292-5e41-434f-f92e-b83a62078c03/468x382.jpg)
Lot 12
BEN NICHOLSON OM [1894-1982] Still Life, 1962. Lithograph on Arches wove paper with full margins. Signed and numbered in ink verso from the edition of 95. Published and printed by Mourlot. 47 x 66 cm [sheet size]. Framed. [Excellent condition]. Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction.
![KEITH VAUGHAN [1912-77]. Still Life, 1950. pencil on paper. Signed with initials. 12 x 8 cm image size [framed]. Provenance:](https://cdn.globalauctionplatform.com/abed1dc5-83aa-4457-ab6f-a8da0098d4e4/80ee2d84-75e6-41e3-9252-b97381812dcb/468x382.jpg)
Lot 196
KEITH VAUGHAN [1912-77]. Still Life, 1950. pencil on paper. Signed with initials. 12 x 8 cm image size [framed]. Provenance: Prof. John Ball collection; private collection, UK. Exhibited: 'Keith Vaughan - 4 Decades of Drawing', one-man exhibition, 2010, Gallery 27, London. We are grateful for the help of Keith Vaughan expert Gerard Hastings in cataloguing this lot. [good condition - unexamined out of frame]. Buyers premium 20% + vat payable.
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